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Khamaj (thaat)
Khamaj () is one of the ten thaats (parent scales) of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat. The Khamaj thaat can be obtained by replacing the Shuddha Nishad of Bilaval by Komal Nishad. The ragas of this thaat are full of Shringara Rasa (romantic) hence this raga is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raga Khamaj is considered to be a 'flirtatious' raag. There is a theory which assumes that in the past, the Khamaj scale found its way in the Ch'in music of late medieval China. Description The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Sa'. In Western terms, assuming the tonic (Sa) to be at C, the scale would be: C D E F G A B-flat C. Khamaj thaat is thus equivalent to the mixolydian mode in Western classical music. The Carna ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music, known as or in the Dravidian languages, South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu Texts and traditions, particularly the Samaveda. The other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulæ), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnati ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaijaiwanti
Jaijaivanti or Jaijaiwanti is a Hindustani classical ''raga'' belonging to Khamaj Thaat. According to the Guru Granth Sahib, this ''raga'' is a mixture of two others: Bilaval and Sorath. The ''raga'' appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This ''raga'' is not mentioned in any Indian classical scriptures on music nor in the ''Ragmala''. According to Guru Granth Sahib, Jaijaivanti (ਜੈਜਾਵੰਤੀ) expresses the feeling of happiness and satisfaction of achievement, while simultaneously conveying the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however, he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put duty first. The duality of the emotions of joy and sorrow prevents overreacting to good or bad news. Raga Jaijaiwanti bears th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tilak Kamod
Tilak Kamod is a Hindustani classical raga. Origin The raga emerges from Khamaj thaat. Technical description The raga is of Shadava-Sampoorna nature, i.e., in its arohana (ascent) six notes are used (D is excluded), whereas the avarohana (descent) uses All seven notes. All the swaras used in this raga are shuddha except for N which is sometimes komal (n). The usage of komal (n) brings in the characteristics of Khamaj thaat. However, shuddha N in the avarohana is quite frequently used in north Indian style of performing this raga. Arohana: 'Sa Re Ga Ma Pa Ni Sa' . Avarohana: Sa' Pa Dha Ma Ga Sa Re Ga Sa 'Ni 'Pa 'Ni Sa Re Ga Sa . Pakad:'Pa 'Ni Sa Re Ga Sa Re Pa Ma Ga Sa 'Ni The vadi swar is Re, and the samvadi is Pa . Samay (Time) The raga is to be sung during the second quarter of the night (dwitiya prahar). Further information It is a very melodious raga, and whereas heavy classical genres like Khyal Khyal or Khayal (ख़याल / خیال) is a major form of Hindu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gara (raga)
Gara is a Hindustani classical ''raga'' belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore the Jati of the raga is ''Shaadav-Sampurna''. While some say that seven svaras are played in the ascent and seven in the descent. Therefore the Jati then becomes ''Sampurna-Sampurna''. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tilang
Tilang is a raga in Indian classical music, that belongs to the Khamaj Thaat. Scale * Arohana (ascending scale): * Avarohana (descending scale): This raga has a Ni flat (ni komal) in the descent. Its defining characteristics are: PS'NS'nP, PS'NS'PnP; some ragis add a R (S*R*NS*PnP). Vadi and samvadi * Vadi note: Ga * Samvadi : Ni In Carnatic music This raga originated in Hindustani classical music and has been taken into Carnatic music.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is derived from the 28th Melakarta (parent scale) Harikambhoji. It is an audava-audava raga (pentatonic asymmetrical scale) with the following structure. * Arohana: * Avarohana: Compositions ''Shree Ganesha charanam'' composed by Papanasam Sivan is a popular composition set in this ragam. ''Ramakrishnaru Manege'', ''Tarakka Bindige'' By Purandara Dasa ''Satyavantara Sangaviralu'' By Kanaka Dasa Film songs Tamil Scale similarities * Gamb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sorath (raga)
Sorath is an India musical raga (musical mode) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the twenty fifth raga to appear in the series. The composition in this raga appear on a total of 65 pages from page numbers 595 to 660. Raga Sorath belongs to the Khamaj thaat. Besides Guru Nanak, Sorath was used by Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 150 hymns plus numerous slokas. Raag Sorath (ਸੋਰਠਿ) – Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Desh (raga)
Desh or Des is a Hindustani classical music raga which belongs to the Khamaj thaat. This raga is very similar to raga Khamaj. Technical description The raga is of audava-sampurna nature, i.e., in its arohana (ascent) only five notes are used, whereas the avarohana (descent) uses all the seven notes. Shuddha Ni is used in the arohana, while Komal Ni (represented as ni below) is used in avarohana. All other swaras are shuddha. * Arohana: Ni Sa Re, Ma Pa Ni, Sa. * Avarohana: Sa ni Dha, Pa Dha Ma Ga Re, Pa Ma Ga, Re Ga Ni Sa. *Pakad: Re, Ma Pa Ni, Sa Re ni Dha Pa, ma Ga Re * The vadi swara is Re The ascent in this raga is a step by step pentatonic movement which goes like this: Sa, Re, Ma Pa, Ni Sa’. Samayam (Time): The raga is to be sung during the second quarter of the night (9PM to 12AM). Re is very prominent, quite a few times the singer rests on Re, making it a centre to the melody. The Meend from Ma to Re via Ga is one of the most vital features of the raga. The arohana ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhinjhoti
Jhinjhoti is a Hindustani classical raga from the Khamaj Thaat. This is a light and playful raga. Theory Aarohana Avaroha Pakad / Chalan Vadi Ga Samavadi Ni Raga description This is a light and playful Raga, apt for instrumental music. In this Raga mostly light mood Bandishs are rendered. Songs in this Raga A famous rendition of this raga is Abdul Karim Khan's Thumri "Piya Bin Nahi Aavat Chain" which Bhimsen Joshi had heard as a child and which left a lasting impression on him. ''Gulon mein rang bhare,'' a ghazal by Faiz Ahmad Faiz , sung by Mehdi Hassan Mehdi Hassan Khan ( ur, مہدی حسن خاں , translit=) 18 July 1927 – 13 June 2012) was a Pakistani ghazal singer and playback singer for Lollywood. Widely considered one of the greatest and most influential figures in the history of gh ..., is set to Jhinjhoti. References {{Reflist Hindustani ragas ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rageshree
Rageshree is a raga in Indian classical music, popular in both Carnatic music and Hindustani music. It is from the Khamaj thaat. It is pentatonic in aaroha, hexatonic in avaroha. Film songs Language:Tamil External linksSRA on Samay and Ragas Rageshree
Rageshree is a raga in Indian classical music, popular in b ...
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Khamaj (raga)
Khamaj () is a Hindustani classical Music raga within the Khamaj thaat which is named after it. Many ghazals and thumris are based on Khamaj. It utilises the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance. This raga has been explored more in the lighter forms of Hindustani Classical Music such as Thumri, Tappa etc. Yet a many compositions in Dhrupad and Khayal are found as well. Harikambhoji is the equivalent rāgam in Carnatic music. Theory aag Shashtra/h1> Arohana: Avroha: Vadi Swar: Samavadi Swar: Compositions In Dhrupad, Sadra, Khayal, Thumri & Tappa styles : *Sudhi Bisara Gayi...(Sadra form – in 10 beat cycle of Jhaptal. Sung by Abdul Karim Khan of Kirana Gharana) *"Ban Ban Dhunda liyo banvari......"(Set in TeenTal, composed by Acharya Dr Pandit Gokulotsavji Maharaj) *"nand ghar aaj baje badhai......"(Set in TeenTal, composed by Acharya Dr P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melakarta
Mēḷakartā is a collection of fundamental musical scales ( ragas) in Carnatic music (South Indian classical music). ''Mēḷakartā'' ragas are parent ragas (hence known as ''janaka'' ragas) from which other ragas may be generated. A ''melakarta'' raga is sometimes referred as ''mela'', ''karta'' or ''sampurna'' as well, though the latter term is inaccurate, as a ''sampurna'' raga need not be a ''melakarta'' (take the raga ''Bhairavi,'' for example). In Hindustani music the ''thaat'' is equivalent of ''Melakartā''. There are 10 ''thaats'' in Hindustani music, though the commonly accepted ''melakarta'' scheme has 72 ragas. Rules for ''Mēḷakarta'' ragas Ragas must contain the following characteristics to be considered ''Melakarta''. *They are ''sampurna ragas'' – they contain all seven ''swaras'' (notes) of the octave in both ascending and descending scale''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications''A practical course in Carnatic musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
